Because The Shark Is Broken is an insider look at the making of Jaws, it seems both fitting and somewhat ironic that the play and movie share the same villain.

Adam Sanders' production has some of the most intricate, varied, prolonged, high-density, high-energy choreography I’ve yet seen.

Magic is on display in Quad City Music Guild's and director Kathryn Weber's current, spirited presentation of 1776, its music direction by Claire Schaecher and choreography by Beth Marsoun. (And I hear the intermission hot dogs are terrific.)

Fiddler on the Roof is often considered one of the final entries in the Golden Age of Broadway era, a period defined by sweeping scores, big ensembles, and stories rooted deeply in character and community. Director Georgette Kleier’s production checks nearly every one of those boxes handily.